The New York art dealer Julien Levy, who helped to preserve Atget's work in the late 1920s and early 1930s, once confessed, "there is nothing I could ask for better than to roll myself between sheets of Atgets." Atget was able to capture an almost tactile quality in his photographs. He realized that through careful, quiet observation, unpretentious description, and faithful attention to seemingly small details he could record not just the look of Paris at the turn of the century, but also its feel; not just visual experience, but emotional experience as well. This photograph, with its delicately rendered depiction of leaves and light, succinctly illustrates what Levy lovingly referred to as "the monumental effect [of] nothingness" contained in Atget's work.